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Satiric Infotainment in Mexico: the Case of Brozo, El Payaso Tenebroso

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Satiric Infotainment in Mexico: the Case of Brozo, El Payaso Tenebroso ALONSO, P. Satiric Infotainment in Mexico CUADERNOS.INFO Nº 37 ISSN 0719-3661 Versión electrónica: ISSN 0719-367x http://www.cuadernos.info doi: 10.7764/cdi.37.820 Received: 09-10-2015 / Accepted: 11-07-2015 Satiric Infotainment in Mexico: The case of Brozo, el Payaso Tenebroso Infoentretenimiento satírico en México: el caso de Brozo, el Payaso Tenebroso Infoentretenimento Satírico no México: o caso de Brozo, el Payaso Tenebroso PAUL ALONSO, Georgia Tech, Atlanta, EE.UU ([email protected]) ABSTRACT ABSTRACT RESUMO Brozo, the Shady Clown, is considered one Brozo, el Payaso Tenebroso, es considerado Brozo, el Payaso Tenebroso, é considerado of the most popular TV “journalists” uno de los “periodistas” televisivos más um dos “jornalistas” televisivos mais in Mexico. This article analyzes the populares de México. Este artículo analiza populares do México. Este artigo analisa carnivalesque role of Brozo as an el rol carnavalesco de Brozo como influyente o papel carnavalesco de Brozo como influential and critical voice in Mexican voz crítica en los medios mexicanos: es el influente voz crítica na mídia mexicana: media: he is the court jester who, through bufón que, a través de un humor ácido y ele é o bobo da corte que, através de vulgar and harsh humor, is able to say vulgar, puede decir verdades impunemente um humor ácido e vulgar, pode dizer “truths” with impunity, in a country with en un país con uno de los más altos índices de verdades impunemente em um país com widespread violence against journalists violencia contra periodistas y una tradición um dos mais altos índices de violência and a tradition of institutionalized de corrupción institucionalizada en el oficio. contra jornalistas e uma tradição de corruption in the profession. At the same Al mismo tiempo, este artículo examina corrupção institucionalizada no ofício. time, this article examines Brozo as an a Brozo como influyente comunicador Ao mesmo tempo, este artigo examina influential political actor from his TV político en el contexto mediático mexicano, a Brozo como influente comunicador show El Mañanero in Televisa, one the desde su tribuna en Televisa, uno de los político no contexto midiático mexicano, most powerful media conglomerates of conglomerados de medios más poderosos a partir de sua tribuna na Televisa, um dos the world, with historic adhesions to del mundo, con una cuestionable tradición conglomerados de mídia mais poderosos the Mexican political elites. Finally, the de adhesión al poder. Finalmente, Brozo do mundo, com uma questionável case of Brozo is interpreted in relation es relacionado con la emergente tendencia tradição de adesão ao poder. Finalmente, to the emergent trend towards global hacia el infoentretenimiento global en los Brozo é relacionado com a emergente infotainment. medios televisivos. tendência ao infoentretenimento global na mídia televisiva. Keywords: Infotainment, satire, Mexico, Palabras clave: Infoentretenimiento, sátira, Palavras-chave: Infoentretenimento, political communication, spectacle, México, comunicación política, espectáculo, sátira, comunciação política, espetáculo, journalism. periodismo. jornalismo. •How to cite: Alonso,CUADERNOS.INFO P. (2015). Infoentretenimiento Nº 37 / DECEMBER satírico 2015 /en ISSN México: 0719-3661 el caso / E-VERSION:de Brozo, elWWW.CUADERNOS.INFO Payaso Tenebroso. Cuadernos.info / ISSN 0719-367X, (37), 77-90. doi: 10.7764/cdi.37.820 77 ALONSO, P. Satiric Infotainment in Mexico INTRODUCTION Potter, 1996). For this study, the material available In November 2014, the wax figure of Brozo, the online related to Brozo was reviewed, with a special Scary Clown [Brozo, el Payaso Tenebroso], began to focus on the El Mañanero videos available on YouTube, be part of the pantheon of the Museum of Wax of which were selected according to what seemed to be the the City of Mexico, which pays tribute to 230 of the most representative of the relationship of Brozo with most prominent historical personalities of the political, power (his interviews with presidential candidates, for artistic and sporting environment in the country. The example). Descriptive notes on the dynamics, aesthetics tribute was fourteen years after the first transmission and organization of the program were taken, journalistic of El Mañanero [The morning], the news program with material available was collected digitally, and during which Brozo burst into political communication in several months of 2015 Brozo’s Facebook and Twitter Mexico. Created by comedian Víctor Trujillo, Brozo were monitored for updates, which were quite active. As is considered today one of the best known television more material was collected, interpretations of the texts “journalists” of the country (“Micha, Alatorre, Doriga, already made were reviewed and connecting them with Aristegui and Rocha, communicators with the best other thematic aspects. In other words, Brozo videos image in Mexico: Parametría”, 2015). And, according were linked with the angles of interpretation of this to Forbes magazine (2015), this clown is the most research and the context of the case study. According to influential Mexican journalist on Twitter. Van Dijk (1991), much of the information of a text is not In times in which infotainment and entertainment expressed explicitly, but it is implied. This information have colonized much of the public discourse, this may involve concepts or ideas that must be inferred article analyses the character Brozo as a symbol of the from other knowledge, context or background, and has carnival tradition: he is the jester who, through a critical important ideological dimensions. “The analysis of the and vulgar humor, can tell truths with impunity in a “unsaid” is sometimes more revealing than the study country with one of the highest rates of violence against of what is actually expressed in the text” (Van Dijk, journalists and a tradition of corruption institutionalized 1991, p. 114). Thus, the analysis of the case of Brozo in the profession. At the same time, this article examines included bibliographical research on issues related to Brozo as an influential political communicator in the the situation of journalism and the media in Mexico, the context of Mexican media, from his rostrum at Televisa, story of humor and Mexican satire, and about the global one of the world most powerful media conglomerates, trend towards Infotainment in political communication. with a questionable tradition of adherence to power. Finally, Brozo is related to the emerging trend towards global Infotainment in the television media. CORRUPTION, CONCENTRATION OF MEDIA AND VIOLENCE AGAINST JOURNALISTS IN MEXICO For more than seven decades (1929-2000), METHODOLOGY the Institutional Revolutionary Party [Partido This work is based on textual and discursive analysis Revolucionario Institucional] (PRI) held in Mexico of the television performance of Brozo, the fictional an authoritarian regime disguised as democracy. The character created by the comedian Víctor Trujillo. writer Mario Vargas Llosa referred to this system of Textual analysis is a methodology that focuses on the a single party as “a perfect dictatorship”, which was interpretation of texts from a literary perspective (Jensen sustained by political repression, institutionalized & Jankowski, 1991), to understand how these texts corruption, electoral fraud, control over worker’s unions define general culture and how they work as part of and a corrupt press control. During the regime of the communicative and ideological practices. In this way, PRI it was common that reporters received payments the main axioms of textual analysis are hermeneutics (called “embutes”, “chayos” or “chayotes”) or bribes and interpretation (Potter, 1996). Textual analysis aims from officials or politicians to cover their version of to immerse in the study material, find recurring patterns the news, while the owners of media received money and review the interpretations as more material on disguised as State advertising, subsidies and other fiscal the topic are being gathered (Lindlof & Taylor, 2002; benefits (Alves, 2005). CUADERNOS.INFO Nº 37 / DECEMBER 2015 / ISSN 0719-3661 / E-VERSION: WWW.CUADERNOS.INFO / ISSN 0719-367X 78 ALONSO, P. Satiric Infotainment in Mexico Over that period, moreover, in Mexico media years. This war resulted in a blood bath - more than concentration was encouraged through a tacit 121,000 people were killed during the administration of alliance between the PRI and Televisa, the biggest Calderón (“More than 121 thousand dead, the balance media conglomerate of the country and one of the of Calderón’s drug war” [Más de 121 mil muertos, el main participants in the business of entertainment saldo de la narcoguerra de Calderón]: Inegi, 2013) – worldwide (Calleja, 2012; Fernández, 1982; Mancino, without practical results. 2007; Mejía, 1998; Sosa & Gómez, 2013; Trejo, 1985; In this scenario of violence, journalism has been Villamil, 2010). Thanks to this relationship, Televisa has one of the visible victims of the drug war. According to operated almost in a monopolistic way in Mexico, and the Committee to Protect Journalists (Witchel, 2014), even its owner (the “Tiger” Emilio Azcárraga Milmo) Mexico has become one of the most dangerous countries was considered “a PRI soldier”. After the end of the cold for journalists. Between 2000 and 2014, the National war, the installation of neo-liberal economic policies Human Rights Commission [Comisión Nacional de and the wave of democratization of Latin America in
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